Books › An Encyclopedia of the Violin, 1925 › scan 210
Scan 210
An Encyclopedia of the Violin, 1925
14 lines. Read by computer on 28 September 2026. Printed page 182. See the scan on archive.org.
1favorable to the artist, public performances would be universally fine. Unfortunately, difficulties are apt to arise at the last moment, when they are least expected, and in the main these difficulties are due to the lack of musicianship on the part of those with whom the artist is obliged to play.
3When playing with pseudo-musicians, the artist is often forced to stress the rhythm of the music he is playing to the detriment of the logical accentuation, which gives rise to disastrous interpretations.
5Ysaÿe and Kreisler play in a superbly rhythmical manner. Kubelik's rhythm is less decisive; while that of other violinists of great reputation is practically non-existent. I must repeat that, if the violinist wishes to play in a truly rhythmical manner, he must choose his fellow player—in the case of sonatas or other ensemble works—or his accompanist, with the greatest care, and, if he himself be lacking in rhythmic sense, he must have recourse to their advice as regards playing in clean-cut rhythmic fashion, seeing that the rhythm he thinks he possesses may exist only in his imagination. In any event, he must learn to cultivate a genuine liking for the metronome, or the rhythmicon. The rhythmicon is a newer discovery, derived from the metronome, which beats out the most difficult rhythms with mathematical regularity. The more customary rhythmic figures are very perceptible, and are shown by means of cardboard perforations, each of which represents a different movement. For purposes of study and instruction, and as an aid to securing rhythmic accuracy in playing, this instrument is a very valuable mechanical accessory.
7ACOUSTICS
9Only a scientist can treat the subject of acoustics in all its aspects, and in presenting its essentials I will refer to those investigators who have made it the study of a lifetime. It should be remembered, of course, that acoustics are here considered exclusively from a violinistic point of view, and especially with regard to virtuoso violin playing.
11Take the young artist who plays in public. The word acoustics has a very real meaning for him. He steps out upon the concert platform, makes his bow and begins to play. And from the moment his bow touches the strings he is unnerved and annoyed by the various echoes which come to him, echoes or sounds which he had thought ended, and which continue; by the duration of sounds accented by the kettledrums, for instance. In my opinion, the violinist should never be too near the orchestra when he plays, but should stand at a distance of at least five feet away from it, where he will be less at the mercy of the acoustic echoes. Playing with the piano is a different matter: here he must draw as near as possible to the piano, since the tonal quality of sound is altogether different in each instrument, and one supplements the other without interference.
13Acoustics, from the Greek acono, "I listen," is that branch of physics whos
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